4 June 2008

La Fin Absolue du Monde

The other day, at Dejan’s behest, I watched an episode of the TV series “Masters of Horror” directed by John Carpenter. Entitled “Cigarette Burns,” the episode focuses on the quest for a long-lost film that allegedly induces profoundly disturbing, perhaps even fatal effects in anyone who views it. The whole episode can be seen in six YouTube installments, the first of which is HERE. [UPDATE 27 May 11 — The entirety of Cigarette Burns can now be seen HERE.]

The setup would make a good assignment for screenwriters or short story writers…

* * *

The butler ushers Mr. Sweetman into the office of Mr. Ballinger. After some small talk Sweetman contemplates a movie poster hanging on the wall and says to Ballinger: “La Fin Absolue du Monde. The Absolute End of the World.”

“What do you know about it?”

“I know it played once: opening night premiere of the Festival International du Cinema Fantastique de Sitges. Violence erupted in the theater. When Hans Backovic the director tried to get the film out of the country, the government seized it and destroyed it, not realizing it was a work in progress and his only print. He quit the business, and the film’s only been seen by that one audience.”

“You’ve done your homework, but the government didn’t destroy the film.”

Sweetman observes another wall decoration. “What’s this?”

“A prop from the film. I’m a bit obsessive about La Fin Absolue du Monde. I have a collection of over eight thousand films, The most extreme images, created by some of the most obscure filmmakers from around the world. I’m not about to drag you up here in the middle of the night for something that made a school girl dizzy. I’m talking about real power.”

“Were you at the festival when this played?”

“Yes. I even had tickets for the screening, but I’d seen Backovic’s previous work and I wasn’t impressed, so I went to see the first Dr. Phibes instead, hoping to meet Vincent Price. In ’83, the Rotterdam Festival announced a screening. By the time I’d flown there they had cancelled it, saying it was an error. The fact that the venue burned down must have had something to do with it.” Ballinger opens a desk drawer and pulls out an old file filled with papers. He hands it to Sweetman. “Every mention of the film since ’71, every rumor about underground screenings, the official report from Citges. Mr. Sweetman.”

“Why are you giving me this?”

“Isn’t it obvious? I want you to find the print for me.”

“Finding a rare print can be costly, even under the best circumstances. La Fin Absolue du Monde is… it’s infamous, it’s rarer than rare. If there was a print of that out there I’d know it.”

“It is out there, believe me. My sources are unimpeachable.”

* * *

You can readily track down the other 5 installments of Carpenter’s version of this story, but here’s how I think it should turn out: Sweetman finds the film but is afraid to watch it himself. He brings it back to Ballinger. Ballinger watches it: nothing, no impact. He’s stunned, crestfallen, outraged, desperate. This isn’t La Fin Absolue Du Monde, Ballinger declares. But, Sweetman protests, I’ve been assured by the director’s wife, the projectionist at the ’71 showing, a reviewer from that showing — this is the one. No, insists Ballinger: it’s a replacement, perhaps a remake, even a copy, but it isn’t the real La Fin Absolue Du Monde. You must continue searching, Mr. Sweetman, I’ll pay anything you ask, anything…

I’ve toyed with a few other alternatives, KalEl, but since you think this one is perfect I won’t trouble you with them (unless you insist, of course). It seems like a good exercise for screenwriters in training: write a story about someone who’s been hired to find and bring back the legendary film Le Fin Absolue du Monde. No further information is provided; e.g., the de-winged angel isn’t part of the setup.

That’s looks like the real thing, Jason, though of course I’m always looking for freebies. It looks like I could download it through Vuze, my bit-torrent provider of choice, though of course there’s no guarantee of quality.